Posts Tagged ‘The Night Counter’

NOTE: This website is currently under reconstruction, so like a first draft, it’s a little disorganized.

In 2005, I went to the Squaw Writers Conference in what I only partially realized was an attempt to escape the LA screenwriting world and discovered the sweeter side of writing–novel writing. It may pay less and probably fewer people will read your work than see your work, but there are so many fewer human beings to suck up to in the process–and they are overall nicer human beings. Like Patricia Dunn (http://www.patriciadunnauthor.com/2014/08/) and Myfanwy Collins (http://myfanwycollins.com/blog/), who I met at Squaw Valley and who are both the reason I am taking part in this blog tour. Both have great YA novels coming out this year. So proud and honored to have them as friends and writers.

Patricia and Myfanwy are outstanding editors, as well as writers—and I think that is in large part because they are big readers. Their feedback on the first draft of The Night Counter was so vital. And Pat has been my guru on so much in my life, including helping me shepherd my middle grade novel into the world, along with her best friend and fellow writer Alexandra Soiseth (http://soisethwriter.wordpress.com/2014/08/22/my-writing-process-blog-tour/)

Squaw Valley is also where I met Alma Katsu, the incredibly prolific fantasy writer of the Taker Trilogy. Alma’s just plain sharp, and it could be all those years working for a mysterious organization. She’ll be answering these questions next week, along with one the funniest writers I know, Amy Bridges, whose Texas/Alaska upbringing is as entertaining as her hijinks in LA today. (See more about them below)

1) What are you working on?

I wish someone would tell me how respond to this one today. The best answer is somewhere between nothing and too much. I am either cursed or blessed–or somewhere in between—for loving to consume and write television, films, fiction and magazine articles. I even like the orderly, mechanical process of writing academic articles and recipes, but that is my escape

from the stress and chaos creative writing causes. Luckily for the world, I don’t do music lyrics.

Today I’m reworking from first to third person a middle grade novel about a girl trying to have the perfect Christmas in the small town in Minnesota where she lives with her immigrant Arab parents. It only gets worse when a vision of the Virgin Mary is spotted on their driveway. I’m also drafting my next novel, which involves Abu Dhabi but doesn’t have any camels or oil wells in it so far. I’m also going to spend a lot of time logging footage from The Golden Harvest, a documentary that is a multi-country project that has always bound my family together—olive oil. Any of the above could be a screenplay, too…in the meantime, they’re just tearing at my heart and soul, demanding I focus.

2) How does your work differ from others of its genre?

We are all as individuals our own genre, made up of all the things that have happened to us, that we hope will happen to us, and that our own individual brains juxtapose together. Sometimes for me that juxtaposition comes out as fiction or non-fiction, written or filmed.

3) Why do you write what you do?

Because it comes out of me—it tells me at some point, “Please write about me” and I try to respect the request. I have also written purely for money but that stuff isn’t worth discussing.

4) How does your writing process work?

I move a lot so getting a process down is hard for me, as time zones and cultural clashes and day jobs dictate making adjustments to the different worlds. But I can speak to what have been the elements of my ideal situation, which I am really trying to capture now as I start this new novel.

Wake up when it is still dark outside and neither my head or the road is rattled yet. And then I write for a fixed amount of time without stopping even for chocolate, say two hours. Or until I write a thousand words. This early morning joy has been hard for me to capture in the Middle East, where social life often begins at 9 pm, making going to bed early not so easy.

I reserve afternoons for re-reading or editing. And for reading the millions of things in this world that I want read.

I tell myself I can go to yoga as soon as I am done writing.

I tell myself I can watch my latest TV obsession when I am done writing

I tell myself a lot of things to stay put at the desk.

When all of the above fails to happen, I clean my house. I have a very clean house.

Look for these blogs next week:

Alma Katsu’s debut, The Taker, has been compared to the early work of Anne Rice, Elizabeth Kostova’s The Historian and Diana Gabaldon’s Outlander for combining the historical, supernatural and fantasy in one story. The novel was named a Top Ten Debut Novel of 2011 by the American Library Association and rights have sold been in 16 languages. The Reckoning, the second book in the trilogy, was published in June 2012, and the third and final book, The Descent, published in January 2014. The Taker Trilogy is published by Gallery Books/Simon and Schuster and Century/Random House UK.

Ms. Katsu lives outside of Washington, DC with her husband, musician Bruce Katsu. In addition to her novels, Ms. Katsu has been a signature reviewer for Publishers Weekly and an occasional contributor to The Huffington Post. She is a graduate of the Master’s writing program at the Johns Hopkins University and received her bachelor’s degree from Brandeis University, where she studied with John Irving.

Prior to publication of her first novel, Ms. Katsu had a long career as a senior intelligence analyst for several US agencies and is currently a senior analyst for a think tank. http://www.almakatsu.com/

Amy Bridges is a Los Angeles based writer and blogger at www.jurassicmom.com. Amy’s work has appeared on TLC, HGTV, and Discovery Health. She is a Hedgebrook alumnus, and the recipient of the First Prize Fiction Award at the San Francisco Writers Conference. Her play, Women ofthe Holocaust, was published by The Kennedy Center and The Northwest TheatreJournal. Her play, The Day Maggie Blew Off Her Head, received first prize inthe Edward Albee Prince William Sound Playwriting Lab, presented by EdwardAlbee. Her work has been nominated for The American Theatre Critics Association’s New Play Award as well as The Osborne Award for an Emerging Playwright. Her creative nonfiction has appeared on The Nervous Breakdownand has received publication by New Lit Salon Press. Currently, she isworking on a collection of essays. And of course, living in Hollywood, it is required for her to always be working on a screenplay. Follow her on Twitter @rattleprincess and Facebook at amy.bridges.12@facebook.com.

Interesting. I wonder what this is about? That was my initial reaction when I opened a package from my publisher the other day and saw Przepowiednia Szeherezady. I was thinking that another writer must be as equally obsessed with Scheherazade as I am. Perhaps she had read The Night Counter, and had liked it so much she had written a book length analysis of it. Perhaps that was why my name was in big letters under the beautiful Nubian princess on the cover. We can all be delusional for a few seconds.

The Nubian princess on the cover I immediately recognized was not me. However, it took me awhile to figure out she was indeed my Scheherazade from The Night Counter. This was in fact the Polish translation of The Night Counter, with one of the main characters literally photographed in a way I had never imagined her.

Being as The Night Counter’s characters are fiction, I had never seen a photograph of any of the characters in the book outside of my head. Nor did I ever contemplate how hard or easy it would be for the characters to master life in Polish. Now sometimes in the space they forever inhabit in me, I can imagine them whipping up some witty repartee in Polish. At least I hope it’s witty and true to themselves. But no one ever really knows when it comes to translation. Indeed, how Dobromila Jankowska (the translator) heard them in English might be different than how I heard them, and therefore they might be slightly different people in Polish. Just like real humans, characters become slightly different when they move to a different language, let alone a different country. Even my English doesn’t sound the same here in Abu Dhabi as it does in the US. There are words I don’t use often now—“dude” mercifully high among them—because they sound foreign in English here and maybe I speak louder and slower.

Humor, which is more based on culture and language, than drama is probably the hardest thing to understand in translation. In Germany, The Night Counter family is apparently quite funny. I only know this from sitting at readings in Germany in which I would read in English to relatively stoic responses –I could have been reading a new political manifesto for Europe. But when the translator read the German version, the laughter told me they were not thinking of The Night Counter as a manifesto, at least not one they took seriously.

The Night Counter became Feigen in Detroit (Figs in Detroit) via translators Nadine Psuchel and Max Stradler. My German editor at Auf Bau called Max a replicant because he can translate in several languages faster than anyone she’s met, run marathons and raise a son on his own. Max did the first literal translation and Nadine went in and made the characters authentic in German. At least that’s what everyone who has read the translation tells me: They said Nadine was able to deliver fully dimensional characters who sounded like they’d always been speaking German suitable for their phobias and demographics.

When I met Nadine, we clicked instantly, bonded by the hours we had both spent pondering every word in the book, something that creates a natural intimacy, as probably no one else has ever had to be so close to what goes on in my head. We also had similar sensibilities, key to good translation. Here is an exchange, unedited, between us when she was doing the final pass at the translation:

Nadine: On page 84: “Yeah, we could call it the International Dateline,” he said. “Sometimes these ideas just come to me. The entrepreneur in me, I guess” (Zade talking about a new cooperative partnership in his match-making services). The pun with date doesn’t work in German so we thought of him proposing the name “Achse der Liebe” – “axis of love”. But of course this would have a more political undertone so what would you think of that version? (We could also leave the name in English. Date in the sense of rendez-vous is known in Germany, so the pun would be lost but the name itself would make sense, maybe with a slightly different wording in his next sentences).

Me: I love axis of love. It would have been better in English, too.

Translation is complicated, but it also made me understand my own language more–and I got to understand my characters better in talking about them as German speakers. But perhaps on the other hand its simple. When I met my Norwegian publisher last year, I asked her why she had bought the book for this country with one of the highest per capita reading rates in the world. “I loved the story,” she said. “I could see it in Norwegian.”

That’s it really: translation at its most noble is love of sharing stories and information. Some of the best things I’ve read in my life originated in languages I only know how to say “thank you” in. If I have any doubts about how translation makes life better, I only have to look at the woman on the cover of Przepowiednia Szeherezady : Scheherazade understood stories and the importance of them for survival. That’s why she’s been in translation for centuries, some translations recognizable to how I know her, and some less so–and one day soon, she’ll find herself saying “dude” in someone’s interpretation of her.

At the baggage carousel at the Stuttgart airport, the first stop of the book tour for Feigen in Detroit (Aufbau 2010), I waited for my suitcase while four Gulf women dressed like they had arrived at a spa at the North Pole waited for their 10 gargantuan suitcases. From eavesdropping, I gathered the baggage was for a five-day stay.
They had no idea how to get the luggage off the carousel themselves, and there didn’t seem to be any baggage handler around, clearly a first for them. Meanwhile, on the other side of me, two middle-aged German women who had just spent 10 days in Jordan each briskly grabbed her lone backpack off the conveyer belt and headed home. The Gulf women were still watching their suitcases turn, waiting for someone—anyone–to lift them off for them. I was somewhere in the middle of all these women, neither able to briskly whip my suitcase over my shoulder nor waiting for someone to carry it for me. I have lived most of my life between “can demand help” women and “can do” women.
I spent eight days in Germany in six different cities. It was cold, it was rainy, and went by so fast that I only added one word to my German: Schweinefleisch. In English pork sounds just like pork, but in German it seems like I might be missing out on something. I loved Germany. Not that I don’t like living Abu Dhabi. It’s just a little different.

1. In Germany, a train scheduled to leave at 8:52 a.m. leaves at 8:52 a.m. If for some reason it can’t do so, you will be informed in plenty of time of the delay. In the Middle East, there is no such time as 8:52 a.m. “Around let’s say 9 in the morning” would be more accurate, and you don’t really have to question if someone is late until around 10 in the morning, perhaps even 10 the evening.

2. I found “Feigen in Detroit” at the Stuggart train station bookstore just to the left of the erotica section, which was next to the children’s Christmas book section. In Abu Dhabi, you might find “The Night Counter” if you can find a bookstore. It won’t be carrying erotica, or porn as we call it in America.

3. I was in Germany for several days before I noticed what I wasn’t noticing—German flags. In the UAE, the flag seems to decorate everything—from doorways to camels. In Germany, the flag appears primarily on federal buildings. Nor can the German flag pass as a Christmas decoration, which is what a recent arrival told me she thought all the red and green lights festooning Abu Dhabi were for. They were for a different season– neon versions of the flag for National Day (which is like Christmas—one day that lasts several days)

4. In Germany, they recycle everything everywhere. People throw their trash in bins marked paper, plastic, and waste. In the Middle East, you just hope people put their trash in a bin, any bin.

5. In Germany, all the pharmacies boost about “bio” (organic) products. In Abu Dhabi, the pharmacies heavily promote facial whitening creams even when you’re not asking to be whiter.

6. There are a lot of kabob shops in both Germany and Abu Dhabi. Thanks to a large Turkish population, Germany has way better kabob, doner kabob that is, which we call shawarma here.

7. Anywhere you see “schweinefleisch” in Germany substitute “lamb” in Abu Dhabi. The cow has it easy in both places.

8. Germans love dates—as a treat. Arabs love dates—as a staple. In the Middle East, you can buy a kilo for about 4 Euros. In Munich, one date costs one Euro.

9. In Germany, the VAT tax hurts. Abu Dhabi is tax free.

10. In Germany, people read everywhere they go—buses, trains, airplanes. On my flight from Munich to Berlin, everyone was sitting and reading. This made me happy. On the plane coming back to Abu Dhabi via Jordan, the Arabs on the plane were just sitting. No books, no computers, not even any iPads. Sometimes it’s good to just sit, but en masse like that, it made me sad.

Many people ask me why “The Night Counter” is called “Feigen in Detroit” in German, which means “Figs in Detroit.” Therein lies the beauty of translation. It’s all about what your translators (Max Stadler and Nadine Puschel) and publisher (AufBau) see in German that you didn’t see in English. I have loved working with

Feigen in Detroit

AufBau from the day they aquired to today and I’m looking forward to meeting the people who read it in German. So if you’re in Germany or Vienna this coming two weeks….

More information also on Facebook at “The Night Counter by Alia Yunis”

I miss living in the US every day for many reasons, but among the things I don’t miss are the shallow debates on TV that pretty much follow the line of “Muslims: Terrifying or just really scary?”–usually a heated debate book ended with some heart pounding intro and outro musak– like these are one of two extreme positions that need to be taken about Islam’s billion followers. It’s easy for me to tune it out when I’m not Stateside, so I’m glad I missed the whole Juan Williams debacle, and I’m not sure why he got fired when so many others have said way worse things and had it pass as “news.” But I get a kick out of this blog’s response–and feel pretty privileged to be in the company of these fine dressed people.

PRAISE FOR THE NIGHT COUNTER:
“[Yunis] weaves a colorful tapestry…rich in character and spirit.” —Entertainment Weekly

“Wonderfully imaginative…poignant, hilarious…The branches of this family tree support four generations of achievement, assimilation, disappointment, and dysfunction.…Their stories form an affectionate, amusing, intensely human portrait of one family.”
—Boston Globe

“Little pigs and lost siblings make for decent bedtime story fodder. But the life and times of Fatima Abdullah, the madcap matriarch of Alia Yunis’s charming debut, The Night Counter, is even better.” —Daily Candy

When THE NIGHT COUNTER: A Novel (Three Rivers Press; July 13, 2010) by PEN Emerging Voices Fellow Alia Yunis was published in hardcover in 2009, it was chosen as recommended summer reading by the Chicago Tribune and Boston Phoenix, received rave reviews across the board, and was praised as “wonderfully imaginative,” (Boston Globe), “emotionally rewarding reading,” (Kirkus, starred review), and a “captivating debut” (Publishers Weekly).

Now available in paperback and perfect for summer reading, THE NIGHT COUNTER crafts a striking tapestry of modern Arab American life. With great comic timing and a touch of magical realism, this quirky and poignant novel centers on the last ten days of Fatima Abdullah’s life and the richly layered, multigenerational stories of her family.

The beautiful and immortal Scheherazade, the legendary character from The Arabian Nights, has been roaming the earth for eleven centuries, and she yearns for a story to distract her. When she follows an American soldier home from Iraq out of curiosity, she runs into Fatima Abdullah in Los Angeles, a cantankerous and fiercely loyal matriarch of a sprawling Arab American clan with two husbands, ten children, fourteen grandchildren, and one great-grandchild with a great-great-grandchild on the way.

Eager to learn more of her family secrets and why Fatima left her husband—the great love of her life—at the age of eighty-two, Scheherazade visits Fatima each night, coaxing her to divulge more about her past and speculate on her family’s future. THE NIGHT COUNTER begins with Scheherazade’s 992nd visit. She has already warned Fatima that “when our stories end, so do our lives,” but now, with just nine days left, Fatima has run out of childhood stories of Lebanon and must tell a love story, a story she has run from all her life.

With a zealous FBI agent watching her home, a gay grandson refusing to take her marriage advice, and ten children who make lousy heirs to her house in Lebanon, Fatima is finding her remaining days in Los Angeles quite frustrating. Through Fatima’s stories and through first-person chapter narratives of Fatima’s progeny in Lebanon and across the United States, Yunis unravels four generations of a quirky clan whose members are as desperate as Fatima to find where they belong. Imbued with great humanity and imagination, THE NIGHT COUNTER is a heartwarming tale that proves that storytelling is an act of love.
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Six weeks after finishing the initial U.S. tour, The Night Counter and I are going to do a little tour of the Middle East. Started out easy last night at the

The Night Counter at the Virgin Store in Abu Dhabi

American Women’s Network in Abu Dhabi, where, thanks to my friend Annette, many of the women had already read it and were fans. Next is Bahrain, where I don’t know anyone. I’ll wrap it up in mid-December in Abu Dhabi with New York University’s international conference on the Arabian Nights. Here’s a rundown: